Use of appropriated photographs examines how the camera has defined acceptable modes of identity. In process, each gelatin-silver print is roughly formed over the body post photographic development. The form is finely sculpted immediately after it is removed from the body. Though some of the photographic elements are abstracted, their three-dimensional rendering creates attributes distinguishing its subject matter. Whereas the conventional figurative sculpture is associated with monument and sentiment, a photographic portrait functions more as an anthropological document. It is not my intention to harmoniously integrate these two mediums. The attempt to conform renders each object hollow and devoid of exact detail.